Tag: Sea Wife (1957)

Based on the novel Sea-Wyf by J.M. Scott, Sea Wife is a curious mélange of genres – WWII drama + survival tale + tropical island exotica + romance – that originally began as a Roberto Rossellini film until Fox had concerns about the script’s sexual content, and to appease censors opted for a tamer script, causing Rossellini to exit and production manager Bob McNaught to take on the directorial chores…

Making their debut on Blu on this side of the pond are the Dutch marine classic Admiral / Michiel de Ruyter (2015) from XLrator, and Richard Burton’s U.S. debut with Olivia de Havilland in My Cousin Rachel (1952) via Twilight Time.

A lengthy podcast with Peter Roffman, editor / author of Dear Guelda: The Death and Life of Pioneering Canadian Filmmaker Julian Roffman, director of the CanCon 3D classic The Mask (1961), and so much more.

Cited as a strong influence on Universal’s expressionistic horror films of the 1930s, The Man Who Laughs was the first major film version of Victor Hugo’s 1869 novel that told the truly horrible tale of a disfigured child adopted by a small-time circus owner, and years later, becomes a celebrity of sorts when his disfigurement enthralls locals…

Woody Allen’s last film starring Mia Farrow is one of his best and darkest comedies, hyper-fixating on the (largely) negative effects of infidelity – the film earned Oscar nominations for writing and supporting actress (Judy Davis) – but its most powerful moments…

Written during his busiest period (1968-1970), Quincy Jones’ score for John and Mary was quite sparse, leaving obligatory space for the film’s myriad dialogue exchanges and source music, but the score is memorable for being atypical of the material Jones was writing at the time: action comedies (The Italian Job, The Hell with Heroes), comedies (Bob & Carol & Ted & Alice,Cactus Flower), and the funky style of They Call Me MISTER Tibbs!

For some soundtrack fans, it was a bit of surprise to learn the composer of pioneering synth scores had begun his career with large orchestral scores for John Boorman’s Excalibur (1981) and Jim Henson’s The Dark Crystal (1982)…

The first film in the enduring franchise gave John Powell the perfect opportunity to write what remains both his definitive action sound, and the definitive action score of that decade, blending large orchestral sounds with layers upon layers of electronics…

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